LES PROJETS AVORTÉS

Eventually Law ended up with D.C. Comics and they have done an excellent collected edition of our work. At one stage, both Kevin and I would have been nervous of them buying Law in case they ‘bought it to bury it’, but there were radical changes at D.C. with Jim Lee at the helm. In fact, while Kevin was at a San Diego convention, they suggested a Marshal Law/Batman crossover to him. Yes, I know it sounds unlikely that a conservative comic corporation should even consider such a team-up, but they seemed quite serious at the time and Kevin and myself readily agreed.

I was already familiar with Batman , having written Batman: The Book of Shadows with Debbie Gallagher, illustrated by Duke Mighten. I’d found an angle on the character that I could live with. Warped occultists were preying on lonely kids and Batman, ‘King of the Lonely’, goes to their rescue.

But the prospect of the Marshal Law fox getting in with those superhero chickens was just too good an opportunity to miss. Contracts were duly signed and my preliminary synopsis was approved. Looking back, I have no negative feelings about it. It was worth a try, I think everyone at D.C. also tried, and they were all friendly and helpful, if restricted by the requirements of big corporation. Some things are simply not meant to be.

BATMAN / LAW CROSSOVER.

Pat Mills & Kevin O’Neill

Our story involves a super hero, the sinister-looking TRANSPORTER who is a patient at the Mission Hospital San Futuro where medical orderly Joe Gilmore (who is also Marshal Law ) is looking after him. THE TRANSPORTER is the product of a “Philadelphia Experiment” by Shocc (Super Hero operational Command and Control run by the Government in Law’s world). This tormented character is literally a Human Black Hole, travelling endlessly between alternative Earths, including Batman’s Gotham, before returning to the Mission Hospital.

He wants to “get off the dimensional carousel” and has discovered that the solution is in an alternative Gotham (not the regular Batman Gotham). But his torment and savage acts of vengeance have brought him in conflict with Batman from this alternative Gotham.

The story begins as the “insane” Transporter scrawls Batman imagery on the walls of his high-security cell. Like Renfield in Dracula. The Transporter announces to Joe “he is coming.” When Batman arrives, under dramatic circumstances, Marshal Law is unhappy at another super hero entering his domain. They will clash ; but later the two characters work together to deal with the Transporter threat.

le script

Une planche de werewolf by night 9 (ou strange tales 3) non publié

J’ai l’impression qu’on n’en a parlé dans cette discussion, ni ailleurs, mais il semblerait que Rob Liefeld et Jim Valentino aient travaillé sur quelques recherches pour une proposition de série Young Avengers à la fin des années 1980.

Rob lui-même en parle, citant une évocation par Tom Breevort qui ne semble plus accessible :

L’affaire remonte à la hauteur du cross-over Atlantis Attacks : Liefeld venait de finir deux chapitres, l’un d’eux mettant en scène Namorita. Lui et Valentino entendent des bruits de couloir évoquant la possibilité d’une série Young Avengers. Ils s’empressent de faire une proposition, avec quelques dessins. Liefeld appréciant les personnages aquatiques et les jeunes héros oubliés à fort potentiel de développement (puisque personne n’a encore fait grand-chose avec eux, ils évoquent Speeball, Firestar, Nova, Vance Astro, et amènent de nouveaux protagonistes (Cougar, Brahma, Rebound, Gridlock, Spectra, Lynx, Combat et Photon) qu’ils mélangent avec un fond atlante.
Toujours d’après Liefeld, vers la même période, on lui propose New Mutants. Mais le projet ne débutera que dans quelques mois, et d’ici là, il milite pour son projet Young Avengers. Et un jour, il reçoit un coup de fil de Mark Gruenwald, qui lui conseille de ne pas lâcher la proie pour l’ombre et de se consacrer à New Mutants, car si le projet Young Avengers se développe, ça ne sera pas avant un an.

Valentino de son côté continue à faire pression. Mais les mois passent et bientôt Liefeld contribue au lancement de X-Force tandis que Valentino sort la nouvelle version de Guardians of the Galaxy. À ses yeux, Marvel, en ne donnant pas suite à l’époque à Young Avengers, a gagné en échange deux séries populaires.
Liefeld précise que de nombreux personnages parmi ceux qu’ils proposaient d’ajouter à leur projet ont finalement trouvé une place dans leurs séries chez Image, Youngblood et Shadowhawk.
Vu les noms que Liefeld cite dans son billet, on peut aussi voir dans ce projet de Young Avengers une origine possible à New Warriors (ainsi que cette page semble le confirmer, tout en précisant que le développement par Tom DeFalco semble s’être fait en parallèle, et non en coordination, avec le travail de Gruenwald), dont les personnages d’ailleurs débutent dans une série consacrée à l’un des membres fondateurs des Vengeurs : The Mighty Thor.

Jim

Jolie traduction.

Dommage.

Ou pas.

Surtout, on voit que les histoires sont d’Alan Moore et que les dialogues sont d’Eric Stephenson. Et là, on comprend la faiblesse de l’idée. Parce que, au final, les intrigues de Moore sont parfois très ingénieuses, mais parfois aussi assez basiques (Watchmen, c’est un complot, Top Ten, c’est le démantèlement d’un réseau criminel…), et que la force de ses récits, c’est justement sa manière de présenter les choses, d’accompagner le lecteur, et ça, ça passe par la caractérisation, le rythme, et donc, les dialogues. Moore sans les dialogues, ce n’est plus Moore.

Jim

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3 episodes du punisher par palmiotti et panosian , realisés mais jamais publiés.


https://twitter.com/urbanbarbarian/status/1622680344381251584?t=RYt1ACoqqBiQQTPEtpLhuA&s=19

Ah putain, dommage.

Jim

Tu m etonnes !

Quelques extraits de ce que Priest raconte sur la série Captain America & The Falcon

My planned Year Two romance between Cap and The Scarlet Witch (who’d always had a crush on him, after all—I’m not making this up) had to be moved way up since events in The Avengers would be sending Wanda away for quite awhile. I was eager to participate in Avengers Disassembled because, frankly, we needed the sales bump. And a Cap-Wanda romance played nicely into Brian Bendis’s plans for the Avengers.

I retuned to CAF to write the series finale ,
compressing what had been planned as a Year Two arc called The Death of Captain America into two issues. The original idea was that Falcon would inadvertently cause Cap’s death, which would in turn set off major shock waves throughout the Marvel Universe as Marvel would have to go Three Months Without Cap. The main Cap book would deal with several Cap wannabes vying for the title, while in CAF, Sam would travel back to WWII, teaming with Cap and Bucky, in a desperate effort to change history and prevent Cap’s murder. Other events would occur in Avengers and elsewhere.

Tom liked the idea, but already had The Big Story idea for 2005 and, besides, Brubaker was in the main Cap chair, and my idea would be unfair to Ed and his team. I could do the four issues in CAF, but I opted not to. I mean, if CAF happens in some parallel universe where Captain America could be dead for a quarter of the year and nobody notices, what’s the point?

So I stripped the idea down to two basic beats: Falcon inadvertently causes Cap’s apparent death, which snaps Falcon out of Bad Guy Mode. He gets a shave, goes after the Anti-Cap, and disappears (mirroring my own sabbatical). This was designed to set up the FALCON solo book, which I would likely not be doing, but whomever took it on would start with a clean slate (to my knowledge, a FALCON book never happened, and The Falcon simply showed up again in Cap with no apparent fuss over where he’s been).

Un point de Priest sur le premier arc qui n’est pas sorti comme il l’envisageait à cause de Bart Sears.

Complicating things even more was, initially, artist Bart Sears’ storytelling approach. Now, Bart is A Name, and his agreeing to work on CAF was greeted with elation, first and foremost by me. We have Bart to thank for CAF’s strong launch, as the book was (likely) entirely sold on Bart’s Name.

But many fans took an instant dislike to Bart’s style—everybody was hulking the anatomical proportions were comically extreme—and most everyone was completely lost by the first issue’s story, which was my fault. I’d designed a first issue where Cap seems to be acting out of character, intercut with apparent flashbacks to events leading up to this behavior. At the end of the issue, however, it is revealed that “Cap” is not the real Captain America, and that the flashbacks weren’t flashbacks at all but were cutaway sequences occurring within the same time frame.

That was a dicey choice on my part, but we had clear directions and time signatures inserted. A savvy reader could (and should have) realized, somewhere in the first issue, that they were looking at two different Caps.

Only, Bart chose a page layout design that utterly confused even the most basic storytelling and completely derailed this dicey misdirect. Ignoring instructions and warnings abut how important it was to keep the lines straight and clear, Bart chose to insert—for no apparent reason—poster-shot images of Captain American and the Falcon on most every page. Accommodating these required the other panels to be modified, reduced or eliminated altogether, making the pages very hard to follow. I wrote the thing and didn’t have an earthly clue what was going on.

The story and art so confused many readers that they dropped CAF on the spot, triggering a downward spiral from which the book never rebounded. Despite Sears’ very pretty pictures, the books was an unfathomable mess. Subsequent issues fared not much better, leading to a rushed and disappointing showdown at the Freedom Torch in Miami—an obvious homage to Steve Englehart and Sal Buscema’s classic Silver Age battle between Cap and the Cap of the 1950’s. You barely knew what was going on, let alone any parallels from that classic tale.

This was a disaster, one that completely demoralized me. Bart had only committed to four issues—another product of the new industry mindset; artists used to just love what they were doing, there wasn’t all of this deal-making and cherry-picking—and I called Tom and just begged him. If Bart wants to go, please let him go. This is simply not working. I would never give an editor an ultimatum (after all, I’m not A Name), but the subtext was the team just wasn’t working and one of us would be leaving.

https://digitalpriest.com/legacy/comics/caf.html

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C’est vrai que j’en garde un souvenir de grande confusion.

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From Marvel Age Annual #3 and 4 (1987, 1988, respectively): Two brief glimpses of what the potential second Longshot projects by Ann Nocenti and Art Adams could have been.

Ouais, dommage.

Jim

Spider-Man: The golden Web, où Peter Parker sort avec une femme mariée.
Paul Smith encré par Barry Windsor-Smith, j’aurais bien aimé voir le résultat.

Voui, Marko nous en a parlé il y a trois ans, et c’est carrément alléchant.

Jim

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Regret.